Page 29 - Fujifilm Exposure_29 Trial & Retribution_ok

atmosphere. And the use of the split screen - a technique Lynda pioneered in TV drama - is again put to good effect and adds to the pace and ten- sion of the show.
“It certainly has all the ingredients to appeal to La Plante fans, but I think it will also attract a new audience because it stands alone as a film and is more like a two part movie than a serial drama,” he added. ■
Trial & Retribution 8
was originated on 16mm Fujicolour Reala 500D Motion Picture Negative
t would be too easy to say that I chose Reala 500D simply for its ability to handle mixed lighting. There were other challenges, like cross shooting with two hand-
held cameras looking every which way, dark interiors which should not look grainy, a British TV schedule and a requirement for soft natural tones with natural lighting. Yet, we also wanted strong saturated colours in the
S&M dungeon and the club owner’s office, for example.
So I wanted just one stock that would give me wide control of satura- tion and precise colour range in TK. That, together with the practical itin- erant advantages of one stock shoot- ing. I fancied the look of a daylight stock rather than the tungsten look
I so often get stuck with in TK.
I tested the Reala 500D in low light with great colour contrast and was very impressed with its rendition of mid tones in company with heavy satu- ration. There was such good detail in faces for a 500 stock. The colours were rich and easy to manipulate in TK.
The Reala 500D suited the palette Paul Unwin and I had talked about,
suited the script, suited the location brief, and even suited my Aatons (Amelie and Edith); it’s a quiet stock. This is the first time I’ve shot a whole job with handheld camera in this style - impossible without my Wonkycam [Hobson’s invention] – with complex moves and long takes.
Tom Bowyer (our designer) laid out the police incident room (Smith Kline off the flyover at Brentford) with windows on all sides and glass parti- tions between offices - so no cherry pickers or towers. I wanted it natural. We wanted to see the M4 outside the window. The wide exposure latitude of the Reala 500D was excellent. ■
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THE DP VIEW
DAF HOBSON BSC
Fuji Motion Picture And Professional Video • Exposure • 27